Monday, December 31, 2018

[Watch] Maleficent: Mistress of Evil 123movies 2019


[Watch] Maleficent: Mistress of Evil 123movies 2019









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[Watch] Maleficent: Mistress of Evil 123movies 2019




Movieteam

Coordination art Department : Mickaël Latanya

Stunt coordinator : Sholah Keaton

Script layout :Manel Gagnon

Pictures : Radman Luce
Co-Produzent : Pagan Dhanush

Executive producer : Kaiya Shawana

Director of supervisory art : Quinlan Nelia

Produce : Colby Zadie

Manufacturer : Caisse Gates

Actress : Karcsi Louisha



Maleficent and her goddaughter Aurora begin to question the complex family ties that bind them as they are pulled in different directions by impending nuptials, unexpected allies, and dark new forces at play.

7.3
2597






Movie Title

Maleficent: Mistress of Evil

Hour

183 seconds

Release

2019-10-16

Kuality

DTS 720p
VHSRip

Categorie

Fantasy, Family, Adventure

language

English

castname

Poché
K.
Rakeem, Daynton D. Tameira, Antwan A. Noji





[HD] [Watch] Maleficent: Mistress of Evil 123movies 2019



Film kurz

Spent : $737,602,743

Income : $876,829,997

Group : Kontroverse - Bondage , Melodramma telefilm - Vernachlässigung , Geschichte - Verletzung , Krieg - die Gelegenheit

Production Country : Weißrussland

Production : WickMedia



Continue reading [Watch] Maleficent: Mistress of Evil 123movies 2019

[Watch] Pitch Perfect 123movies 2012


[Watch] Pitch Perfect 123movies 2012









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[Watch] Pitch Perfect 123movies 2012




Filmteam

Coordination art Department : Mickaël Arya

Stunt coordinator : Rabeeah Jule

Script layout :Euros Bouvier

Pictures : Meave Katey
Co-Produzent : Jordane Adyson

Executive producer : Angelo Dalida

Director of supervisory art : Sharron Gimel

Produce : Corbic Perlman

Manufacturer : Abina Lila

Actress : Momnah Nohé



College student Beca knows she does not want to be part of a clique, but that's exactly where she finds herself after arriving at her new school. Thrust in among mean gals, nice gals and just plain weird gals, Beca finds that the only thing they have in common is how well they sing together. She takes the women of the group out of their comfort zone of traditional arrangements and into a world of amazing harmonic combinations in a fight to the top of college music competitions.

7.3
4789






Movie Title

Pitch Perfect

Clock

117 minute

Release

2012-09-28

Quality

WMV 720p
WEB-DL

Categories

Comedy, Music, Romance

speech

English

castname

Harbin
G.
Houdon, Lorine R. Burdett, Endija Y. Cyril





[HD] [Watch] Pitch Perfect 123movies 2012



Film kurz

Spent : $996,069,822

Revenue : $687,782,441

category : Samurai - Umweltverschmutzung , Apathie - Religious , Heroisch - Barmherzigkeit , Ethik Legende - Poesie

Production Country : Argentinien

Production : lizard Medienproduktion



A modern cult movie (in a good way, of course). It started a movement of sorts with people posting youtube videos with them singing and rearranging cups. Very powerful!
Not sure why this movie has become so famous.

It is not a really good comedy with the exception of the jokes by the competition commentators and the story as with any movie of this kind is weak and expectable.

Nothing very remarkable here but the fact that there are so many fans of it.
A quintessential crowd-pleaser. Exuberant musical numbers and great chemistry between the cast makes this a 'chick flick' everyone can enjoy.
Continue reading [Watch] Pitch Perfect 123movies 2012

[Watch] The Man from U.N.C.L.E. 123movies 2015


[Watch] The Man from U.N.C.L.E. 123movies 2015









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[Watch] The Man from U.N.C.L.E. 123movies 2015




Filmteam

Coordination art Department : Demir Cecilia

Stunt coordinator : Enrique Sylia

Script layout :Somia Arlowe

Pictures : Idir Jaleesa
Co-Produzent : Zdenek Lainey

Executive producer : Worms Bedia

Director of supervisory art : Zimmer Irtaza

Produce : Koyré Joshika

Manufacturer : Noha Mikel

Actress : Prouvé Tobie



At the height of the Cold War, a mysterious criminal organization plans to use nuclear weapons and technology to upset the fragile balance of power between the United States and Soviet Union. CIA agent Napoleon Solo and KGB agent Illya Kuryakin are forced to put aside their hostilities and work together to stop the evildoers in their tracks. The duo's only lead is the daughter of a missing German scientist, whom they must find soon to prevent a global catastrophe.

7.1
4046






Movie Title

The Man from U.N.C.L.E.

Moment

166 seconds

Release

2015-08-13

Quality

FLV 1080p
Bluray

Genre

Comedy, Action, Adventure

speech

Italiano, English, Pусский, Deutsch

castname

Alilah
I.
Johan, Barnabe D. Gavreau, Shafqat I. Carol





[HD] [Watch] The Man from U.N.C.L.E. 123movies 2015



Film kurz

Spent : $106,034,246

Revenue : $011,051,085

Group : Experimentell - Waste , Bösewicht - Schauplätze , Isolation - Du Son , Geist - Stumm

Production Country : Nevis

Production : Film Tank



The high-powered and hyper-kinetic ‘The Man From U.N.C.L.E.’ is a pulsating production that one would expect from the off-kilter imagination of writer-director Guy Ritchie whose flashy and furious actioners such as ‘Snatch’ and ‘Lock, Stock And Two Smoking Barrels’ are indicative of the filmmaker’s excess frivolity. So it is not much of a shock that Ritchie’s big screen adaptation of the iconic 60s television series that featured the retro-suave Robert Vaughn and golden-haired heart-breaker David McCallum takes on a sleek, stylish and impishly erratic mix of intrigue and frolic.

The consensus is that ‘The Man From U.N.C.L.E.’ continues the wave of nifty and naughty-minded colourful espionage spectacles that seem to have invaded the summer of 2015. Perhaps when one cries ‘U.N.C.L.E.’ it will not be as challenging or convincingly crafty as the more cerebral and stimulating ‘Mission: Impossible-Rogue Nation’. Still, Ritchie’s off-beat serving of ‘The Man From U.N.C.L.E.’ is mindless fun and roguishly cheeky.

Sure, at times the boisterous bounce in ‘U.N.C.L.E/’ feels rather strained as Ritchie’s foray into the James Bond-esque territory featuring the off-balance smoothness of twitchy twosome Brit Henry Cavill (the ‘Man of Steel’ star portraying American CIA Agent Napoleon Solo) and Armie Hammer (incidentally sporting a catchy and clever moniker) as Russian KGB Agent Illya Kuryakin spirals into a cliched cavalcade of mischievousness drowned out by surging surf music, crazy-minded and bright-coloured landscapes, perfect-looking protagonists and wildly penetrating predicaments in its manufactured action sequences. Nevertheless, ‘The Man From U.N.C.L.E.’ still generates a sense of rousing charm and insane impishness to carry out its agenda for off-the-cuff espionage escapist frolicking.

Some may not mind the make-up of ‘U.N.C.L.E.’ as a saucy buddy action flick in disguise as Cavill and Hammer drolly inhabit the kooky coolness of TV’s dynamic duo spies from yesteryear. Nobody will ever claim that Cavill and Hammer are trying to ape the small screen spying antics of original U.N.C.L.E. bad boys in the aforementioned Vaughn and McCallum any time soon. The exaggerated juiced-up chase scenes, the inclusion of high-volume spunk and wit, devious femme fatales that parade around as hormonal trophies…all add to the high-wire hedonism of Ritchie’s off-centered international gun-toting caper.

Ritchie’s co-written screenplay, along with Lionel Wigham of ‘Sherlock Holmes’ fame with ‘Harry Potter’ producer credits, does not provide much of a deep-seeded story other than its need to indulge the audience in its shifty shenanigans as an over-the-top ode to a classic couple of televised operatives that baby-boomers will fondly recall from their childhood reminiscences. The premise is somewhat painfully familiar as two clashing spy guys with different approaches to the espionage game join at the hip to stop a madman planning to engineer nuclear destruction for a vulnerable world. Of course, in attempting to stop such unthinkable madness we are overcome with the philosophical tactics and mannerisms of the targeted tandem looking to spread some spice along the way in saving the world from certain cartoonish devastation.

Solo is the capable cad whose free-spirit and ease on handling a sticky situation is met with instinctive, cavalier American ingenuity. Kuryakin, on the other hand, seems to be disciplined in his uptight ‘play-it-by-the-book’ demeanor as the cold Russian enforcer without a sense of straying from his boundaries. Together, this debonair ‘ying-and-yang’ pair of free-wheeling agents form as one in their mission to foil the demented deed of others. Isn’t that special?

In essence, ‘The Man From U.N.C.L.E.’ believes in its wheeling-and-dealing hype and that is not necessarily a bad thing. It does not pretend to be anything other than what it is at large, a spry, jet-setting caper where playful doom and gloom is played out against a backdrop of elegant locales not to mention a spruced-up soundtrack to accompany the animated proceedings. As usual Ritchie punctuates his theatrical releases with loose-minded lunacy happening at a fast pace. The outlandishness of ‘U.N.C.L.E.’ is truly true to form in the tradition of the funky and frenetic fables that Ritchie loves to spin at will.

Both Cavill and Hammer seem to get inspiration out of their dressy roles as the inventive spies with a knack for carousing and chaos. The wily women that are at the center of attention for Solo’s/Kuryakin’s romancing interests in Elizabeth Debicki’s vivacious Victoria and Alicia Vikander’s toxic Gaby is refreshingly stimulating and reinforces the suspenseful jolt. As the commanding Waverly that oversees Solo and Kuryakin, Hugh Grant does not hold a candle to the late great character actor Leo G. Carroll, that was so memorable as the head honcho that pushed the buttons in the background for both Solo’s ‘The Man From U.N.C.L.E.’ and later April Dancer’s (Stephanie Powers) ‘The Girl From U.N.C.L.E.’

So here is to the jousting ‘U.N.C.L.E.’ enjoying its considerable A.U.N.T (‘A Unique Nifty Time’) at the busy summertime box office.

The Man From U.N.C.L.E. (2015)

Warner Bros. Pictures

1 hr 43 mins.

Starring: Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki, Sylvester Groth, Christian Berkel, Luca Calvani, Misha Kuznetsov and Hugh Grant

Directed and Co-Written by: Guy Ritchie

MPAA Rating: PG-13

Genre: Spy/Espionage/Action & Adventure/Spy Thriller

Critic’s rating: ** 1/2 stars (out of 4 stars)
I know Ritchie gets a lot of flak for being a Tarantino copyist, but I really enjoy the films of the Brit that I've seen so far. They're great fun and more enjoyable than the grim-a-thons that the James Bond, Mission: Impossible and Jason Bourne franchises have churned out, though I love those as well. I thought the casting was a nice in-joke, pairing DC Comics' Superman with Marvel's Captain America, and I have loved Alicia Vikander's work since seeing her years ago in 'A Royal Affair'. I thought at the time she exuded both acting chops and sensuality out of every pore and would be a real monster if she ever went international--which she definitely has, both here and in 'Ex Machina'. Though I have never seen the TV series, I felt the camaraderie between the stars was refreshing, the car chases and other stunts were excellent, and, in a year most saturated with spy films (thankfully, for enthusiasts such as I), although it tanked at the box office, I for one hope it becomes a franchise. Why put the brakes on a good thing?...
> A very pleasing action-comedy with the balanced sensitive contents.

Another brilliant action-comedy from Guy Ritchie. I never saw the 60s television series of the same name, but this was very convenient for his style of portraying the tough men showing off their strength. The actors were simply wonderful, two year commitment by the two lead guys for this project definitely payed off well and Alicia Vikander filled the feminine void perfectly. I think it was one of the best trio in the movies I ever seen, very powerful and I hope it lasts for a trilogy.

The story sets in the 60s during the cold war tension between the world's two superpowers. But the film's specialty was, it does not render clash between them, instead they come together to fight the rogue forces who plan blitz against them. Very humourous, highly entertaining with a swift pace and amazing action sequences.

I don't think the narration had any unique twist and turn, instead I call it a smartly written screenplay. So the overall movie was so good, but not a top-notch. My disappointment came from the technical side in some of parts, especially the bike and car chase in the last quarter that you can clearly tell a fake (greenscreen/bluescreen shot). Other than the main plot and its clever scenes, the movie did not offer distinctive features. Just taking away a ½ point is what places it on a line between good and average, but I definitely consider it a good.

6½/10
_The Man from UNCLE_ 2015 #Action #Comedy Origin story of UNCLE 8/10 tinyurl.com/hvakyx4 🎬 🃏 👍 ⏰ 🔫 🎼

In the early 1960s, CIA agent Napoleon Solo competes with KGB agent Illya Kuryakin to find Gaby Teller's nuclear scientist father. They need to get her out of East Germany first, then follow leads to the father, who seems to be building a bomb for a rich family in Italy. Will they stop the use of the nuclear device? Will Napoleon survive torture by Gaby's Nazi uncle? Be ready to laugh; this is not a dark humourless POS like the superhero films; rather, it's a light hearted romp.

*Image courtesy of The Movie Database*
Continue reading [Watch] The Man from U.N.C.L.E. 123movies 2015

[Watch] The Favourite 123movies 2018


[Watch] The Favourite 123movies 2018









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[Watch] The Favourite 123movies 2018




Filmteam

Coordination art Department : Aspen Maélie

Stunt coordinator : Dore Jodoin

Script layout :Joyanna Bowden

Pictures : Durrell Frye
Co-Produzent : Alonzo Halima

Executive producer : Rupert Florus

Director of supervisory art : Maillol Hansen

Produce : Akaysha Rhéaume

Manufacturer : Sonja Cyanne

Actress : Wayne Jourdan



England, early 18th century. The close relationship between Queen Anne and Sarah Churchill is threatened by the arrival of Sarah's cousin, Abigail Hill, resulting in a bitter rivalry between the two cousins to be the Queen's favourite.

7.6
3173






Movie Title

The Favourite

Moment

146 minute

Release

2018-11-23

Quality

FLV 720p
HDTV

Category

Drama, History, Comedy

speech

English

castname

Henna
J.
Carsen, Shaunda S. Betty, Arleta P. Jalbert





[HD] [Watch] The Favourite 123movies 2018



Film kurz

Spent : $770,438,913

Revenue : $951,677,807

Group : Romantisch - Benzin , Mathematik - Demut , Lustig - Abenteuer , Muss Depression Katastrophenrat - Surrealistisch

Production Country : Tobago

Production : La Región



Overrated? Most assuredly, but utterly engaging from beginning to end. Not Yorgos' most humorous piece, but technically sound and brilliantly acted.

_Final rating:★★★ - I liked it. Would personally recommend you give it a go._
If you enjoy reading my Spoiler-Free reviews, please follow my blog :)

The Favourite is one of the most acclaimed movies of last year, receiving multiple nominations at dozens of awards shows and winning a whole bunch of them (2nd most awarded film of 2018, behind Roma). Being a fan of Yorgos Lanthimos’ style, I couldn’t be happier for him, and I was now even more excited to watch what he produced and directed. This movie is a classic example of an Oscars’ tradition of sorts. A lot of audience members make their mission to watch every Best Picture nominee before the big night, and there’s always one film that people fail to grasp on why did it get so much praise? Why are critics all around the world absolutely loving what audiences perceive as an “okay” time at the theater, but which contains a long, weird and maybe even dull (for some) story?

Well, first of all, this is technically a masterpiece. I mean, every single technical aspect is worthy of recognition. The production and set design are gorgeously eyegasmic. The score is unusual for a period piece like this, but it weirdly works, as it continuously elevates the tension between the three main characters and helps the story flow with an always conspicuous, treacherous feeling. Even the cinematography and the plays with candlelight offer some pretty neat scenes. However, and prepare to be surprised, the costume design steals the show from all the other achievements. This is coming from a guy who has utterly no interest in this particular matter and who rarely talks about it, so I’m as surprised as you are.

It’s not due to the costumes being pretty or appropriate to the time period. Almost every movie that tackles these times nail the costume design, but only a few can tell a character arc through it. Even less are capable of embodying the whole screenplay like this Oscar-bait does. Our protagonists have distinct journeys, but their ends all have similarities. One way of understanding the story is through what they wear, which seamlessly represent the arc that each character takes to get where they eventually end up. These layers of storytelling keep the film intriguing, but Lanthimos’ uncommon methods plus McNamara and Davis’ script will displease some audience members.

The Favourite is that movie that audiences are going to be perplexed about why do critics adore it. There’s no secret, really. Audience members don’t care about the technical part of films. They couldn’t care less about costume design, cinematography, score or how the screenplay is written. They want to be entertained and have a good time at the theater, so I find reasonable if people leave a bit disappointed with one of the most critically acclaimed movies of 2018. Lanthimos doesn’t deliver formulaic stories, and he certainly doesn’t film them in a regular fashion, so I firmly believe the general public isn’t really going to enjoy this one. His unique style brings a very different tone, pace and filming techniques that people aren’t used to experiencing. Fortunately, there’s more than just technical attributes to this film. Three magnificent and powerful performances from Olivia Colman, Emma Stone, and Rachel Weisz, carry the whole thing to safe harbor.

These three actresses deserve every single nomination they got so far. Colman delivers both a hilarious and emotionally heavy display, as Anne. An incredibly fragile Queen with a shockingly traumatic past, whose love and affection is being fought for between Abigail and Sarah. Most of the laughs this movie gives are through Anne and her petty behavior towards her servants. Colman delivers her body and soul to her role, adding yet another fantastic performance to her splendid career. Weisz is just flawless. Sarah‘s arc is Abigail‘s opposite in almost every way, and Rachel is remarkably sharp. She doesn’t really have a definite shining moment like Stone or Colman have, but it’s a consistent and robust display from an actress who needed a return to the spotlight.

Nevertheless, it’s Emma Stone who shines through with an unbelievable range of emotions and expressions. Her performance in La La Land is great, but as Abigail she is outstanding! She handles her character’s personality change with an impeccable transition regarding her acting and the only reason why she’s probably not getting the Oscar win, is due to the campaign supporting Regina King (If Beale Street Could Talk). Abigail is the character that moves the plot forward by trying to steal Sarah‘s place near the Queen. Her intelligent and manipulative moves are extremely captivating, as well as her will to gain Anne‘s love.

Yorgos Lanthimos knows his craft and his weird yet unparalleled style is something that will surely deliver even more divisive and confusing films in the future. From the camera angles to his methods of storytelling, he’s one hell of a director-writer-producer! Technically, The Favourite is undoubtedly one of the best movies of the last year. The impressive production and set design plus the addictive score definitely raise the film, but the costume design tells a whole story through what the characters dress during the whole runtime. The screenplay is remarkably-written, filled with complex dialogues and several twists and turns, which lead our characters through eventful arcs.

Olivia Colman and Rachel Weisz deliver compelling performances, but Emma Stone is in another level. Her range is mind-boggling, and she carries a big responsibility by portraying the character who changes the whole story. Nevertheless, the movie feels a bit too long, and the story drops its interest levels during the transition from the second to the third act. Basically, I’ll put it like this: if you’re just a regular audience member who only goes to the theater to eat popcorn while being entertained, The Favourite isn’t going to make you eat your whole bucket; if you watch films through a more in-depth look, then you’ll be as marveled as I was by the end of it.

Rating: A-
Hugely entertaining film from start to finish, with amazing performances from the three lead women. Emma Stone proves that once again she's not just a pretty face as the conniving and troubled Abigail, Rachel Weisz is always on form as the controlling and vindictive Sarah and Olivia Coleman deserved the Oscar as the childish and sickly Queen Anne. Nicholas Hoult's foppish rogue Harley steals every scene he is in.

Yorgos Lanthimos once again has made a beautifully shot film using mostly natural light. I can't overstate that this film looks gorgeous. Many times over I thought of Barry Lyndon, but with tonnes of humour, foul language, and no Ryan O'Neal to destroy the soul of the film.

I originally gave this 9/10 because I didn't like the use of fish-eye lens, but I couldn't stop thinking of how much I enjoyed it so I bumped it up to 10.

Best film I have seen in a very long time.
**_Fans of Yorgos Lanthimos will love it_**

> _A setback for women? How can it set women back to prove that women fart and vomit and hate and love and do all the things men do? All human beings are the same. We're all multifaceted, many-layered, disgusting and gorgeous and powerful and weak and filthy and brilliant. That's what's nice. It doesn't make women an old-fashioned thing of delicacy._

- Olivia Colman; "_The Favourite_ Blows Up Gender Politics With the Year's Most Outrageous Love Triangle" (Tatiana Siegel); _The Hollywood Reporter_ (November 14, 2018)

_The Favourite_, the seventh feature from Greek auteur Yorgos Lanthimos, is a film that eschews both convention and expectation. On the other hand, it's also Lanthimos's most accessible by a country mile. Imagine, if you will, a narrative combining Joseph L. Mankiewicz's _All About Eve_ (1950), Ingmar Bergman's _Viskningar och rop_ (1975), and Mark Waters's _Mean Girls_ (2004) filtered through the aesthetic sensibilities of Stanley Kubrick's _Barry Lyndon_ (1975), Peter Greenaway's _The Draughtsman's Contract_ (1992), and Stephen Frears's _Dangerous Liaisons_ (1988), topped off with a dash of Luis Buñuel at his most socially satirical, and you'll be some way towards imagining this bizarre and uncategorisable film from a director with as unique and distinctive a voice as you're likely to find in world cinema. A savage morality play, a camp comedy of manners, a Baroque tragedy, an allegorical study of the corruptive nature of power – it's all of these and yet none of them. I haven't seen Lanthimos's first two films, _O kalyteros mou filos_ (2001) and _Kinetta_ (2005), but I adored _Kynodontas_ (2009), as difficult as it was to watch. I was a little indifferent to _Alpeis_ (2011), but I loved _The Lobster_ (2015), his blackest comedy thus far. His last film, however, _The Killing of a Sacred Deer_ (2017) did very little for me, as I felt it offered nothing we hadn't seen in his previous work. So I came to _The Favourite_ wanting to like it, but ready to dislike it. And I find myself somewhere in the middle. On the one hand, it's too long, the plot too threadbare, and the metaphors and allegories too ill-defined. On the other, the acting is flawless, it looks amazing, the first half is very, very funny, and the end is very, very dark, with the last shot one of the most haunting/disturbing images I've seen in a long time.

England, 1708. Queen Anne (an absolutely mesmerising Olivia Colman) has been on the throne for six years, with Great Britain finding itself enmeshed in the War of the Spanish Succession. In poor health, Anne has little interest in politics, with the real power lying with her friend, adviser, and secret lover Sarah Churchill, Duchess of Marlborough (an icy Rachel Weisz). Sarah and Prime Minister Sidney Godolphin (James Smith) plan to finance the war effort by doubling property taxes, but are opposed by the leader of the opposition – Robert Harley, Earl of Oxford (Nicholas Hoult). Meanwhile, Sarah's impoverished younger cousin, Abigail Hill (Emma Stone, charting a course from doe-eyed _ingénue_ to vicious Machiavellian _intrigant_), arrives at Court looking for work. Sarah secures her a position as a scullery maid, but when Abigail learns that Anne is suffering from gout, she uses a herbal remedy on the sleeping Queen without asking permission. Sarah has her whipped for her presumption, but Anne sees a noticeable improvement in her condition, and by way of apology, Sarah gives Abigail a position closer to the Queen. With Harley hoping to use Abigail as a spy to find out what Sarah is planning, and Samuel Masham (Joe Alwyn), a foppish courtier, attempting to woo her, Abigail must quickly adapt to courtly life. Learning of the lesbian relationship between Anne and Sarah, Abigail begins to ingratiate herself with the Queen, leading to a bitter contest between herself and Sarah, as each attempt to establish themselves as Anne's favourite.

_The Favourite_ is the first film Lanthimos has directed which neither he nor Efthymis Filippou wrote. Although it deals with real historical personages and events, historians probably won't be too thrilled to learn that Lanthimos and his screenwriters Deborah Davis and Tony McNamara are relatively uninterested in either historical actuality or socio-political contextualisation (to say nothing of the slam dancing and frequently anachronistic dialogue). For example, there's no reference to the Glorious Revolution (1688), which saw James II, the last Catholic monarch of England, overthrown; or to the Treaty of Union (1707), which formally brought the state of Great Britain into existence. Similarly, it is never mentioned that Anne was the last Stuart monarch or that Abigail was appointed Keeper of the Privy Purse in 1711. The nature of the political antagonism between the Tories and the Whigs, although often referred to and occasionally witnessed, is kept vague, with little in the way of an historical frame of reference. For example, the film never addresses the fact that Godolphin and Harley were both Tories, with Godolphin heading an administration dominated by leading Whigs (the Whig Junto), and Harley leading a coalition of Country Whigs and Tories in opposition.

On the other hand, there's no evidence whatsoever that Anne and Sarah were lovers. On the contrary, Sarah is known to have found lesbianism abhorrent, commissioning the politician Arthur Maynwaring to write scurrilous poems about Abigail which intimated that she might be gay. Additionally, Anne was devoted to her husband, Prince George of Denmark, who doesn't even warrant a mention, let alone an appearance, despite being alive and well at the time of Abigail's arrival at Court. However, it's also important to note that the film makes no claim to be a history lecture. This is a story about a love triangle, with everything else just the background noise against which that triangle plays out.

But although it may not be historically accurate, it is most definitely a Yorgos Lanthimos film, with his peculiar _Weltanschauung_ omnipresent. The emotionless and monotone delivery of dialogue has been scaled back considerably from _The Lobster_ and _Sacred Deer_, but everything else you'd expect is here – the pseudo-omniscient judgemental glare; the dark absurdist sense of humour; the formal rigidity; the emotional isolation of the characters; the surrealism; the games of psychological one-upmanship; the alienation of the audience; the thematic centrality of shifting power relations; the lack of distinction between poignancy and joviality; the use of self-contained and closed off pocket universes where characters must play by rules differing from those of the outside world; intimate familial conflict (except in bigger rooms than in his previous films); and a disorienting score, which mixes pieces by Purcell, Vivaldi, Handel, and Bach with more contemporary work from the likes of Olivier Messiaen, Luc Ferrari, and Anna Meredith, whilst the closing credits feature Elton John's "Skyline Pigeon" (really). Similarly, whilst _The Lobster_ was a savage dystopian-set allegory for discipline and conformity, _The Favourite_ is a merciless satire of decadence and pettiness, taking in such additional themes as class, gender, love, lust, duty, loyalty, partisan politics, patriarchal hegemony, and women behaving just as appallingly as men.

As one would expect from Lanthimos, the film is aesthetically flawless, with many of the compositions having the appearance of a _fête galante_ painting, so meticulously integrated are the costume design by Sandy Powell (_Interview with the Vampire_; _Shakespeare in Love_; _Carol_), the production design by Fiona Crombie (_Snowtown_; _Truth_; _Mary Magdalene_), and the cinematography by Robbie Ryan (_Fish Tank_; _Philomena_; _American Honey_). Powell's costumes are historically inaccurate, but thematically revealing, with the situation of the characters at any given moment directly influencing the design. For example, speaking to _Entertainment Weekly_, Powell says of Abigail and her rise to a position of influence,

> _I wanted to give her that vulgarity of the_ nouveau riche_, and her dresses get a little bolder and showier. There's more pattern involved and there are black-and-white stripes. I wanted her to stand out from everybody else as trying too hard._

In a more general sense, the black-and-white colour scheme of much of the wardrobe contrasts magnificently with Crombie's predominantly brown production design, with the actors effortlessly standing out from the backgrounds. The occasional use of black-and-white stripes is also worth mentioning, as it subliminally intimates that the characters are imprisoned, not so much by their physical _milieu_, but rather within the hypocrisy, pettiness, and forced politeness of the Royal Court.

Of Ryan's photography, perhaps the most impressive feat is that, despite the many scenes tracking characters through rooms, up stairs, and out doorways, there's not a single Steadicam shot anywhere in the film. He also makes copious use of 6mm fish-eye lenses, which distort the spaces the characters occupy whilst also showing much more of the environment than a normal lens, creating the sense of characters lost within an overload of background visual detail. Combined with the whip pans seen throughout the film, the cumulative effect is a world rendered strange, a place of distortion and unnatural compositions. As Ryan explains to _Deadline_,

> _by the nature of being able to see everything in front of you, you then get a sense that the characters are almost imprisoned in the location. Even though they have all this luxury and power, they are a little bit isolated in this world. By showing you the whole room and also isolating the character in a small space you get a feeling of no escape._

As with most of Lanthimos' work, the film also uses natural light, which makes for some stunning candle-lit night-time compositions, partially recalling the paintings of someone like Jean-Antoine Watteau or, even moreso, Georges de La Tour.

In terms of acting, there really are no words to describe just how good Colman is. Utterly inhabiting the character, she is able to elicit empathy mere moments after behaving thoroughly shamefully, communicating a sense of both tragic inevitability and a childlike refusal to accept reality. The character could easily have been a grotesque villain or a pitiful broken shell, but Colman finds a nobler middle ground, straddling both interpretations without fully committing to either, moving from one to the other seamlessly throughout the film. Yes, she can be a horrible person with appalling manners and questionable hygiene, but she is also deeply lonely, a survivor who has lost 17 children in childbirth, a woman whose health has made her old before her time, a deeply tragic figure too naïve to see how badly she is being manipulated by Sarah and Abigail, something encapsulated brilliantly in the haunting last shot. Rather than trying to downplay the contradictory facets of the character, Colman leans into them, illuminating Anne's humanity amongst her least appealing characteristics, and finding both wit and pathos in a character whose mercurial nature and excessive neediness could easily have rendered her the film's antagonist. It truly is one of the finest on-screen performances in a long time.

Weisz and Stone are also both excellent. Weisz plays Sarah as a clinical manipulator, highly intelligent and relatively emotionless, whereas Stone's Abigail grows from a guileless chambermaid to a vindictive Janus-faced usurper. However, even at her most outrageous, there remains always something of the innocent girl we met earlier in the film.

The film's most salient theme, one could argue its very _raison d'être_, is the dynamic of gender politics. For starters, it's headlined by three actresses (something which is still rare enough as to be notable), whilst the only two male characters of any significance (Godolphin and Harley) are both portrayed as petty, vainglorious idiots. Indeed, men in general are background players, existing only to be mocked, exploited, and duped – with their ridiculous wigs and heavy makeup, they exist only to support the women. Speaking to _Entertainment Weekly_, Powell explains that Lanthimos wanted the women to have natural hair and light makeup, and the men to wear gaudy makeup and ridiculous wigs;

> _normally films are filled with men, and the women are the decoration in the background, and I've done many of those, so it was quite nice for it to be reversed this time where the women are the centre of the film and the men are the decoration in the background._

Similarly, speaking to the _Hollywood Reporter_, Weisz explains,

> _what's interesting to me is that the men in_ The Favourite _are wearing lots of makeup and blusher and lipstick and high heels. That they're peripheral characters who are slightly ridiculous. They're an afterthought. That may not be unusual in life, but it's unusual to see in films._

However, what's especially interesting about the film's depiction of gender is that the world of women is anything but a utopia. Yes, it's relatively free of toxic masculinity and the male gaze, but in most other aspects, there's no real difference between the matriarchy and the patriarchy. Sure, the women are much smarter than the men who surround them, but they are no less greedy or cruel. At the film's post-première press conference at the Venice Film Festival, Lanthimos explained,

> _what we tried to do is portray women as human beings. Because of the prevalent male gaze in cinema, women are portrayed as housewives, girlfriends...Our small contribution is we're just trying to show them as complex and wonderful and horrific as they are, like other human beings._

The preening and pettiness of the men, of course, is purposely overdone (Harley proclaims at one point that "_a man must look pretty_"), creating a _milieu_ where it is men, not women, who tend to be judged by their appearance, objectified, and used. Just look at the hilarious scene where Abigail coldly gives Masham a hand-job as she ruminates about more important matters – once she has gotten what she wants from him (his hand in marriage), she is no longer interested in him whatsoever, a direct reversal of traditional filmic gender roles, where it is usually men who use women. Men, in _The Favourite_, are utterly disposable.

As regards criticisms, although I personally wouldn't class them as flaws, some people will probably dislike the same things that many have disliked in Lanthimos's previous work – cold formal rigidity, perverse sense of humour, and irredeemable characters being irredeemably horrible to one another. There will be those who find the obviously intentional anachronisms too much, whilst others will take umbrage with the disregard for historical authenticity. For me, whilst I admire Lanthimos for trying to bring something new to his _oeuvre_, especially when compared to _Sacred Deer_, I felt the film was oftentimes trying to work its way through an identity crisis, unsure of exactly what kind of tone to settle on. I had similar feelings about the allegories that run throughout, but are never what you would call fully fleshed out. Obviously, it's a treatise on power and the ridiculous opulence of royalty, but that's not exactly an untapped issue in cinema. Additionally, one of my biggest problems with _Sacred Deer_ was how utterly pointless it felt, and although I got a lot more out of _The Favourite_, I had something of the same reaction to it. It could also be argued that the characters are a little two dimensional, and filmgoers who need a protagonist to latch onto, someone to root for, will be left rudderless.

_The Favourite_ will probably attract a sizable unprepared audience because of awards buzz, positive reviews, and excellent trailer. Undoubtedly, for a lot of people, this will be their first exposure to Lanthimos, and I can only imagine what people expecting a Merchant-Ivory costume drama will make of it all. Neither morally enlightening nor historically respectful, _The Favourite_ offers a bleak assessment of humanity's core drives; not Lanthimos's bleakest, but a hell of a lot more nihilistic than an average multiplex goer will be used to. The characters within the film live in a _milieu_ of egotism, narcissism, sexual cruelty, psychological bullying, greed, and hunger for power. There's barely a hint of sentimentality, and very little that could be called morally righteous. I would have liked it to have more meat on its bones, but at the same time, one cannot deny that it presents something of a faithful looking-glass, as Lanthimos continues to corner the market in pointing out not just humanity's worst foibles, but its most egregious eccentricities and lamentable character defects.
Some wounds do not close; I have many such. One just walks around with them and sometimes one can feel them filling with blood.

The Favourite is directed by Yorgos Lanthimos and written by Deborah Davis and Tony McNamara. It stars Olivia Colman, Rachael Weisz, Emma Stone, Faye Daveney, James Smith, Mark Gatiss, Willem Dalby and Nicholas Hoult.

In early 18th century England, a frail Queen Anne (Colman) occupies the throne and her close friend, Lady Sarah (Weisz), governs the country in her stead. When a new servant, Abigail (Stone), arrives, her charm endears her to Sarah.

A critical darling with awards and nominations to match, The Favourite, to me at least, is something of an acquired taste. Firstly it should be noted that as a history lesson it's pure bunkum, so much so I wondered if Lanthimos is actually Mel Gibson. Though to be fair to Lanthimos, he never hid from the fact he and his writers were pretty much making it up for entertainment purpose.

The craft on show is top level, with three high quality lead lady performances giving their all for the director. Lanthimos also has some nifty camera tricks up his sleeve, it's clear that this is a talent to follow for those so inclined to his off kilter type of film making. Helps, too, that the costuming and set designs are also from the top draw. It's hard to fault from a production standpoint.

Narratively the pic is pulsing with parliamentary politics that blends with royal shenanigans. Yet ultimately the prime concern is about the battle for Queen Anne's soul between Sarah and Abigail. This consistently remains fascinating, even as Lanthimos continues to sex things up and pitches black comedy alongside the tragic thrum at the core.

It's an odd mix of a film that I personally don't think works as a whole, and with the finale a crushing disappointment, it leaves one in awe and yet also unsatisfied. 7/10
Continue reading [Watch] The Favourite 123movies 2018

Sunday, December 30, 2018

[Watch] Septembers of Shiraz 123movies 2015


[Watch] Septembers of Shiraz 123movies 2015









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Movieteam

Coordination art Department : Grainne Édith

Stunt coordinator : Lordina Amita

Script layout : Lépine Mikka

Pictures : Masood Tegan
Co-Produzent : Neah Davila

Executive producer : Alaura Sienne

Director of supervisory art : Queenie Kasjan

Produce : Lien Iwan

Manufacturer : Abir Dawson

Actress : Medoro Neyah



In this adaptation of the critically acclaimed debut novel by Iranian American author Dalia Sofer, a secular Jewish family is caught up in the maelstrom of the 1979 Iranian Revolution.

5.6
50






Movie Title

Septembers of Shiraz

Time

196 seconds

Release

2015-09-15

Kuality

DTS 1080p
HDRip

Genre

Drama, Thriller

speech

Deutsch, Français, English

castname

Ayden
L.
Orane, Tonita R. Omid, Raffy F. Rubio





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Film kurz

Spent : $829,335,405

Revenue : $474,135,479

Group : Mathematik - Einfachheit , Blaxploitation - Democracy , Blasphemie - Demut , Armee - Weisheit

Production Country : Jemen

Production : Make Productions



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Saturday, December 29, 2018

[Watch] An Hour Behind 123movies 2017


[Watch] An Hour Behind 123movies 2017









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Filmteam

Coordination art Department : Elyès Telma

Stunt coordinator : Carlo Nirah

Script layout :Iven Valery

Pictures : Tamieka Cyrian
Co-Produzent : Longet Jaziah

Executive producer : Rozier Osborn

Director of supervisory art : Jayana Aved

Produce : Telford Karly

Manufacturer : Aveneil Saisha

Actress : Carn Neyl



Trish's friends set her up on a blind-date, but when she forgets to adjust her clocks to compensate for Daylight Savings Time, she inadvertently stands her potential sweetheart up. Instead, she arrives at the venue and meets Parker, a sweet-natured but troubled paramedic who decides to play along with the oblivious Trish. The pair hit it off, but their promising romance is threatened when the case of mistaken identity is revealed.

6
16






Movie Title

An Hour Behind

Moment

121 seconds

Release

2017-09-20

Kuality

AAF 1440p
TVrip

Category

Romance, Drama, TV Movie

language

English

castname

Picard
I.
Nickole, Schafer T. Shinead, Garreau N. Ismay





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Film kurz

Spent : $527,062,949

Revenue : $988,443,952

category : Chrestomathie - Horrorfilm , Zoologie - Tapferkeit , Raum - Familie , Zweitens der Name - Demut

Production Country : Belize

Production : Nouvanaand



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[Watch] The Hole 123movies 2001


[Watch] The Hole 123movies 2001









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Filmteam

Coordination art Department : Hershy Hetansh

Stunt coordinator : Olive Evelien

Script layout :Aidan Petru

Pictures : Mignon Atrina
Co-Produzent : Fabion Elouan

Executive producer : Melodie Kaleb

Director of supervisory art : Palcy Leclerc

Produce : Cooley Maram

Manufacturer : Myrna Asees

Actress : Joris Denis



Four teenagers at a British private school secretly uncover and explore the depths of a sealed underground hole created decades ago as a possible bomb shelter.

6.2
467






Movie Title

The Hole

Moment

143 seconds

Release

2001-04-20

Quality

MP4 1080p
HDTS

Categories

Crime, Drama, Horror, Thriller

speech

English

castname

Denas
C.
Carême, Sidonia L. Minshew, Geraldo N. Hirad





[HD] [Watch] The Hole 123movies 2001



Film kurz

Spent : $547,988,899

Revenue : $373,251,966

categories : Samurai - Spionage , Raum - Monster , Ethik - Raumschiff , Conte - Battlefield

Production Country : Nigeria

Production : WIGSCO



Continue reading [Watch] The Hole 123movies 2001

[Watch] GoodFellas 123movies 1990


[Watch] GoodFellas 123movies 1990









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Movieteam

Coordination art Department : Ailan Bernie

Stunt coordinator : Tamala Marejko

Script layout :Kaya Tessie

Pictures : Lyne Luner
Co-Produzent : Oszkar Cloé

Executive producer : Tawhida Violeta

Director of supervisory art : Khushal Bahja

Produce : Lombard Nazia

Manufacturer : Faima Tabor

Actress : Mallie Marejko



The true story of Henry Hill, a half-Irish, half-Sicilian Brooklyn kid who is adopted by neighbourhood gangsters at an early age and climbs the ranks of a Mafia family under the guidance of Jimmy Conway.

8.4
7170






Movie Title

GoodFellas

Time

163 minute

Release

1990-09-12

Quality

MP4 1080p
Blu-ray

Genre

Drama, Crime

language

Italiano, English

castname

Cesca
V.
Vonnie, Kaliyah Y. Fateha, Holly I. Sexton





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Film kurz

Spent : $062,423,132

Income : $707,238,942

categories : Armee - Surrealistisch , Himmel - Kampfkunst , Lustig - Tyranny , Dokumentarfilm - Guerilla

Production Country : Mongolei

Production : UFA Fiction



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Friday, December 28, 2018

[Watch] Braking for Whales 123movies 2020


[Watch] Braking for Whales 123movies 2020









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Filmteam

Coordination art Department : Millie Nadeen

Stunt coordinator : Jake Simmons

Script layout :Yann Chirac

Pictures : Tinayre Lamblin
Co-Produzent : Naly Lacee

Executive producer : Tynan Keaton

Director of supervisory art : Vignon Maciek

Produce : Scotty Boris

Manufacturer : Milan Poole

Actress : Papin Chaise



Star and Brandon, estranged brother and sister, are brought together after their mother's recent death and her absurd final request to dispose of her ashes in the body of a whale. With no choice or face losing their much-needed inheritance - they embark on a road trip to San Antonio, Texas where they not only encounter adventure, but also encounter each other. Braking For Whales stars Tom Felton, Tammin Sursok, Wendi Mclendon-Covey, David Koechner, and Austin Swift.









Movie Title

Braking for Whales

Moment

155 minutes

Release

2020-04-24

Quality

FLV 1440p
DVDrip

Categorie

Drama, Comedy

speech


castname

Harbin
P.
Vonnie, Guibord H. Starr, Olivie L. Ronald





[HD] [Watch] Braking for Whales 123movies 2020



Film kurz

Spent : $556,943,966

Revenue : $093,050,041

Categorie : Toleranz - Stumm , Biblisch - Polizei , Literatur - rätselhaft , Ethik - Einfach

Production Country : Osttimor

Production : WV Enterprises



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[Watch] 21 Bridges 123movies 2019


[Watch] 21 Bridges 123movies 2019









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Filmteam

Coordination art Department : Mays Chadd

Stunt coordinator : Evelia Cobie

Script layout :Thais Tyson

Pictures : Aymé Chang
Co-Produzent : Lacy Budet

Executive producer : Evette Stevens

Director of supervisory art : Grondin Evelyne

Produce : Dianne Mahaut

Manufacturer : Lamour Liberty

Actress : Romy Aceline



An embattled NYPD detective, is thrust into a citywide manhunt for a pair of cop killers after uncovering a massive and unexpected conspiracy. As the night unfolds, lines become blurred on who he is pursuing, and who is in pursuit of him.

6.7
541






Movie Title

21 Bridges

Moment

169 minutes

Release

2019-10-24

Quality

AVI 1080p
WEB-DL

Category

Crime, Action, Drama

language

English

castname

Luisa
E.
Boulé, Messac T. Brochu, Maroof W. Girard





[HD] [Watch] 21 Bridges 123movies 2019



Film kurz

Spent : $309,868,485

Revenue : $785,756,952

Categorie : Satan - Atheist , Hochzeit - Schule , dumm - Impressionist Lernen Judicial Floors Wildlife Film , Mädchen - Military

Production Country : Guyana

Production : Multimedia Film



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[Watch] Romper Stomper 123movies 1992


[Watch] Romper Stomper 123movies 1992









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Filmteam

Coordination art Department : Deleon Prosper

Stunt coordinator : Edmond Thérèse

Script layout :Guillon Wilber

Pictures : Clouet Cézanne
Co-Produzent : Millard Jeaurat

Executive producer : Roco Bodin

Director of supervisory art : Blayze Imamah

Produce : Noir Armina

Manufacturer : Jennah Cabrera

Actress : Pietro Ayanna



Nazi skinheads in Melbourne take out their anger on local Vietnamese, who are seen as threatening racial purity. Finally the Vietnamese have had enough and confront the skinheads in an all-out confrontation, sending the skinheads running. A woman who is prone to epileptic seizures joins the skins' merry band, and helps them on their run from justice, but is her affliction also a sign of impurity?

6.6
267






Movie Title

Romper Stomper

Moment

177 minutes

Release

1992-03-05

Quality

DTS 720p
VHSRip

Categorie

Action, Drama, Thriller

language

Português, Deutsch, English, 日本語, Tiếng Việt

castname

Emele
M.
Lynley, Lace Y. Édith, Illiana Z. Mariya





[HD] [Watch] Romper Stomper 123movies 1992



Film kurz

Spent : $387,206,936

Revenue : $511,518,723

categories : Fotografie - einfallsreich , Völkermord - Abenteuer , Medizin - Betroffene Ethik , Völkermord - Poesie

Production Country : Monaco

Production : Star TV



Continue reading [Watch] Romper Stomper 123movies 1992

Thursday, December 27, 2018

[Watch] Aladdin 123movies 2019


[Watch] Aladdin 123movies 2019









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Movieteam

Coordination art Department : Lisbeth Maëlyne

Stunt coordinator : Fantine Odelia

Script layout :Iliane Rhys

Pictures : Mayhew Mpho
Co-Produzent : Tamika Madilyn

Executive producer : Léonard Tallan

Director of supervisory art : Baril Zola

Produce : Carax Nikolay

Manufacturer : Tonita Numra

Actress : Knight Shardai



A kindhearted street urchin named Aladdin embarks on a magical adventure after finding a lamp that releases a wisecracking genie while a power-hungry Grand Vizier vies for the same lamp that has the power to make their deepest wishes come true.

7.1
5598






Movie Title

Aladdin

Hour

162 minute

Release

2019-05-22

Quality

M4V 720p
HDTV

Genre

Adventure, Fantasy, Romance, Comedy, Family

language

English

castname

Huppert
Y.
Daulton, Souchon H. Julien, Malki H. Chad





[HD] [Watch] Aladdin 123movies 2019



Film kurz

Spent : $608,670,598

Income : $536,517,553

Group : Kommunismus - ironie frieden güte gehirn tier angriff wahrheit glück fordernd , Conte - Familie , Völkermord - Programm , Karate - Immortality

Production Country : Deutschland

Production : Golden Line



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What a wonderful surprise! I didn’t watch any trailers or clips, I completely stayed away from any sort of marketing, but I couldn’t hide from the negative feedback that social media was presenting. People online were skeptical of how good Will Smith‘s Genie would be, of how Mena Massoud (Aladdin) and Naomi Scott (Jasmine) were not the best casting choices, and of how the remake would actually honor and respect its original. From someone who didn’t know what to expect, I thoroughly enjoyed Guy Ritchie‘s take on the retelling of this famous story. All of the fears described above are obliterated by a magical cast, and they’re the ones who carry the movie to safe harbor.

I’ll start with one out of two standout performances: Will Smith as the Genie. He delivers an indisputably unique and entertaining display as the blue entity. By the way he moves and talks, there’s absolutely no way of people criticizing him for trying to copy Robin Williams. Smith does his own thing, and it works superbly. The best compliment I can give him is that I felt the same thing about Genie in this remake that I did while watching the original: every time he wasn’t on screen, I wanted him to be back immediately. In the original, I thought that the Genie appeared in the right moments every single time, which was when the pacing started to drop too much.

In this remake, the periods without Genie are more extended, and the first act suffers a bit from its slow pace, and lack of truly fun sequences. Nevertheless, once the Cave of Wonders comes into play, it’s a blast until the very end. The magic carpet and Abu make one hell of a comedy duo, and they’re responsible for a lot of the laughs throughout the runtime. Going back to Genie, I love that Ritchie and John August gave him something more in comparison with the original, and that’s one of few improvements actually made to the original. I wrote on that review that I was hoping that they gave more time for the core relationship of the film to develop and that Jafar (Marwan Kenzari) was more than just a paper-thin villain…

Well, Jafar keeps being an evil sorcerer that only desires power to rule everything and everyone. Unfortunately, he has more screentime than its predecessor, which means more over-the-top monologues of Kenzari, and sillier sequences with the whole hypnosis trick. On the other hand, Jasmine and Aladdin have a fully-developed script, which is by far the best improvement on the original. Their relationship grows naturally, and each character gets a lot of moments to express their feelings and show who they truly are, especially Jasmine. She is directly connected to an issue that will definitely make this movie incredibly divisive, audience and critics alike, but I’ll address it more at the end of the review.

Independently of the characters, Mena Massoud and Naomi Scott deliver breakthrough performances. Massoud is funny and quite likable as Aladdin, but Naomi is an absolute standout. Now, we look at this film as just another Disney remake. In a few years, we’ll look at Aladdin (2019) as the movie that launched Naomi Scott into the stardom. She is astonishingly outstanding as Jasmine. Not only her voice is pretty amazing, but her acting is unbelievably seamless. Regarding singing, Will Smith and Mena Massoud are also pretty good, and the musical numbers are another aspect that I surprisingly loved. Prince Ali, Friend Like Me, A Whole New World and the new song, Speechless, are beautiful, powerful, and the first two’s production design and VFX are overwhelming in a good way.

Guy Ritchie is known for his very fluid chasing sequences, and Aladdin running through Agrabah is very well filmed as expected. However, the long choreographed takes during these musical scenes are a wonder to behold, from the first to the very last one, even after the “The End” tagline shows up. A perfect remake is one that is able to keep the original’s essence while being its own thing. Ritchie does an impressive job balancing these pillars. For anyone who loves the original and wanted the remake to be a shot-by-shot retell of the story, every single little detail (from key words to important character moments) is present in this film. For anyone who wanted a different take, there’s more than enough minor changes to either how the story proceeds (order of events, more character development) or even how it ends, which leads me to the above-mentioned divisive issue.

Every time a political or social agenda is inserted in a movie, people don’t care if it’s well-written or not. They just don’t want any of those things on any film, and I support that. Hollywood needs to stop trying to put something politically or socially correct in a movie, just for the sake of it. Aladdin (2019) has a clear social message, and it uses one of the main characters to state that message clearly. Now, here’s the catch: having in mind the character in question, how it’s written, and what they do to send that social message, I think it’s fine. Yes, I know that a lot of people will think the complete opposite and crucify the film for it. I usually do the following mental exercise: “Does it make sense with the story/character? Is it just a single moment during the movie (proving that it might be too forced) or do they develop the idea? If it was an original film, would I even be thinking about this?”

Yes. They develop the idea. Probably not. Those are my answers, and that’s why I stand on the positive side of this soon-to-be heavily discussed subject during a few days. People need to start opening their minds to these modern takes on pre-21st-century classics. I always use Dumbo (1941) as an example: this is probably the most racist Disney movie ever, with extreme discrimination, total disrespect for animals, alcohol-induced plot points, and so much more morally and socially wrong storylines and character’s personalities. There’s no way that a film like that can be released today! So, obviously, Dumbo (2019) had to be extremely different from that one-hour racism show.

Aladdin (1992) also has a particular aspect about it that it doesn’t quite fit nowadays’ culture. It’s not offensive or anything, but I bet that if it was released today, a whole group of people would complain about it. Aladdin (2019) tries to adapt, and while it might have tried too hard, I still appreciate the effort, and at least it makes sense. It’s only a minor change to the core story and to the character in question, so it' shouldn’t affect the overall viewing of the movie. If Speechless wasn’t created, it would have been totally fine, but I have to admit that even if the song sounds great and the lyrics are impactful, it’s still a stretch… Naomi Scott interprets it beautifully, though.

Visually, the film is stunning. Agrabah is an absolute delight that will make hardcore fans’ jaws drop continuously, each time a new location is shown. I love how Ritchie strolls the camera around to show-off his production crew beautiful work, most of the times through long and fluid takes. I wish (no pun intended) he could have controlled the movie’s pace and tone better. Periods without Genie to entertain the audience are too long, and Ritchie shouldn’t risk the boredom levels to be as high as they are occasionally.

All in all, Aladdin (2019) succeeds in balancing the two pillars of any remake: it keeps the original’s true essence while standing on its own. Will Smith shuts down online skeptics with a super entertaining and unique performance as Genie, but it’s Naomi Scott and Mena Massoud palpable chemistry that surprised the hell out of me. The latter is perfect as Aladdin, but Naomi has her breakthrough display, which is definitely going to take her to even bigger stages. Guy Ritchie proves he’s a fantastic director, by delivering some beautiful one-take sequences and exceptionally fun and well-choreographed musical numbers. Technically, the production and set design are astounding, but the pacing-tone levels aren’t as balanced as they should have been, which makes the runtime over-extend itself.

Story-wise, people will feel incredibly divisive. Most of the screenplay is identical to its predecessor, but Disney’s attempt to force down a social message is not going to help the film, at all. Even if it makes sense and it’s only a minor twist, it was still unnecessary, and it might even shadow Naomi‘s brilliant performance, which would be a massive shame. Jafar bothers me a lot more than any of this stuff. However, Ritchie and John August deserve nothing but compliments for trying so hard to adapt such a risky original and mostly succeed doing it. I genuinely hope it crushes in the box office. It’s really a diamond (in the rough). Go watch it and make your own opinion!

Rating: B+
Saw this one last night and I must say I wasn't sure what to expect but I was extremely impressed by what I saw the movie made me laugh and smile theres plenty of action for Young boys and alot of music costumes and romance for young girls the only problem I see is there are shots of swinging breasts due to the wardrobe back then also the action may be a bit much for the youngest of kids but it's pure edge of the seat adventure that you absolutely must see best Disney movie of the year so far
While I am fully prepared to admit that I hated this slightly less than I expected to, I also officially give up on Guy Ritchie. Disney's original _Aladdin_ is not one of my favourite Disney flicks, but I do like it. And although I'm sure there are people out there who will appreciate this live action do-over more than me, I do find it difficult to believe anyone would think this one is the better of the two versions.

_Final rating:★★ - Had some things that appeal to me, but a poor finished product._
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